In the Flesh: Live [Live]

Roger Waters | Format: Audio CD

Product Details

• Audio CD (December 5, 2000)
• Original Release Date: December 5, 2000
• Number of Discs: 2
• Format: Live
• Label: Columbia
• ASIN: B000053EZS
• In-Print Editions: MP3 Download
• Average Customer Review: 4.2 out of 5 stars  See all reviews (144 customer reviews)
• Amazon Best Sellers Rank: #25,936 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

68 of 75 people found the following review helpful:

5.0 out of 5 stars A Fantastic Representation of An Amazing Tour, December 5, 2000

By 

Brian J. Sleeman (Marquette, MI USA) - See all my reviews
(REAL NAME)   

This review is from: In the Flesh: Live (Audio CD)

....

These [the cd's] were compiled from a handful of shows: Phoenix, Arizona; Las Vegas, Nevada; Irvine, California; and Portland, Oregon (the Portland show will be released in its entirety in a special DVD in the spring), and James Guthrie (the man we can thank for The Wall Live) did a great job here in choosing the best performances from each of these shows to compile the ultimate representation of this past year's tour. The explosive opener, "In the Flesh," gets us right into it, beginning an all-too-short but oh-so-sweet string of songs from The Wall, which Roger has always considered his greatest work. Doyle Bramhall and Snowy White, the two lead guitarists on this tour, leave stinging solos on "Another Brick in the Wall Part 2," thus pumping new life into an old and often wearing radio staple. "Mother" is also simply amazing, with Doyle adding his own unique flavor to Gilmour's powerful solo, and Katie Kissoon and P.P. Arnold singing Gilmour's verses are another great tweak to this Floyd classic.

Then it's on to Roger's traditional live representation of probably the least-listened Floyd album, "The Final Cut." Although I was hoping for "The Gunner's Dream" or the title track, I figured Rog would revert to this little acoustic segue, just as he did on his '87 KAOS tour, and I suppose it fits better into the flow of the performance. This is a touching set of acoustic tracks that really speaks to the heart of Roger's traditional anti-war sentiments. They lead us nicely into Pigs On the Wing (I was hoping for a Snowy White electric solo bridging parts 1 and 2, but hey, you can't always get what you want).

Now for one of the major highlights of this set. "Dogs" is 16 plus minutes of absolute sonic brilliance. Turn the volume up for this one. Jon Carin again shows his many talents, opening the track with acoustic guitar and vocals and immediately moving into the keyboard section, the guitar still hanging around him. If you're reluctant to hear the sometimes Stevie Ray Vaughan-like Doyle Bramhall II play Floyd tunes, you should put that worry to rest here. He absolutely tears through this Floyd classic, stomping all over the album version (as good as that was!) by nailing all of Gilmour's notes and adding a bunch of string-twisting and mind-bending of his own. It's an absolute must hear, and his unique blue-note vocals are an excellent replacement for Gilmour's.

From there we move into the WYWH section of the show which closes set one. Welcome to the Machine is great, with a few nice touches to complement the album version, and the title track of that album, Wish You Were Here, provides one of the points for which Gilmour fans can stand firm upon. His vocals are missed here, if you expect the straight album sound, but it is refreshing to hear the songwriter himself sing his own song. The crowd never failed to join in word for word on this one. Doyle's relaxed and touching solo is an excellent example of his amazing versatility here, too.

Shine On is another highlight of this set. Although Snowy White is not David Gilmour and does not do a perfect job with the opening notes, he more than makes up for it later on into this long track in one of his many duels with Doyle, and again, it's great to hear Roger's voice on his own song - he actually had the lead vocals on the original album version, too. This is a touching tribute to Syd, complete with a Syd collage backdrop which will hopefully be seen on the DVD. (Another thing that merits mention here is that Jon Carin, who has already played acoustic guitar and keyboards while singing at the same time, plays slide guitar on this track - simply an amazing musician, and a great guy as it turns out).

On to set two - am I ever long-winded!

Roger opens it with a Floyd classic, and the first song he ever wrote that appeared on an album, "Set the Controls for the Heart of the Sun." Borrowing the vast majority of the lyrics from an ancient Chinese poet, the nicest addition here to this traditionally acoustic number is the sudden explosion of sound from Doyle's guitar in a newly-added electric solo - this is another performance that just rips through your stereo.

Next it's onto a great medley of Dark Side material. Doyle's affections for "Breathe" can be heard in his refreshing vocals on this track, and the band performs all of these songs masterfully. Time is another great highlight of this set, with Roger taking Gilmour's vocals for the first time ever, and it's wonderful to hear him on his own song again. Doyle, who sang the entire song himself only in the first few shows of the '99 leg, takes Rick Wright's vocals well, and also contributes a blistering solo. Money, which has grown old and weary on the ears of most loyal and long-standing fans, is strengthened here by a refreshing solo from Andy Fairweather-Low (part of a three pronged guitar attack on this song), which Roger mentioned in a recent interview as being the highlight that everyone in the band looked forward to every night.

Finally we get some solo material. Every Stranger's Eyes is my favorite track off the Pros and Cons album, and even though Rog lip-sync's the final high-note verses (and it's no big deal - it's obvious, but it still sounds great!), the song is filled with emotion. We then move into what Rog considers one of his three best works (right there with The Wall and Dark Side), material from his '92 release, Amused to Death. Perfect Sense Parts 1 and 2 simply must be heard, and P.P. Arnold has an overwhelming voice that brought more than a few fans to tears in these shows....

The Bravery of Being Out of Range is nice but lacks the power of the original version (maybe it would've retained that had Doyle played lead on this one?), and it's odd to hear Rog up there playing lead electric guitar. It's a Miracle is a soothing and meaningful inclusion from the ATD album (with a great replication of Jeff Beck's original guitarwork by Snowy White to close it off), and Amused to Death itself is also terrific. Then we get the usual closer of Brain Damage/Eclipse, which still raises the hair on the back of my neck.

Comfortably Numb is another of the biggest highlights of this set, with Doyle and Snowy playing a note-perfect dueling solo to cap off the show and bring the crowd to its feet (those who weren't already standing, anyway). I'm disappointed that Roger's introduction to Each Small Candle was cut off here, but the performance itself is outstanding. It's a touching and haunting track about a story from the recent struggles in Kosovo, done in the traditional Roger style that sounds, to borrow the description of a friend, "like a cross between Us & Them, Amused to Death, and Brothers in Arms by Mark Knopfler. Can't wait to hear that and the other tracks from his new album, if that comes out during my lifetime.

ALL IN ALL, an essential set for any fan of Roger or the Floyd, and if you're interested in a starter set for Floyd material, this isn't a bad choice. It features the band leader reclaiming the bulk of the material that is rightfully his - his children as he calls them - and stringing them together in a magnificent performance with a tight and intensely "live" band.

And in the interests of the customer, Roger made sure to keep the price as low as most single CDs. Read the liner notes to this and you'll see where Roger's inspiration comes from: a connection with the fans, something overwhelmingly present in this set and obviously lacking in the football stadium concerts of his old bandmates...

33 of 35 people found the following review helpful:

5.0 out of 5 stars In The Flesh is a terrific document of Waters '99-'00 tour, December 5, 2000

By 

Lucifer Sam (Cincinnati, OH USA) - See all my reviews

This review is from: In the Flesh: Live (Audio CD)

Roger Waters' latest double live album, "In The Flesh," documents Waters' 1999-2000 North American tour, and serves as a fantastic memento. I had the great privilege of seeing Mr. Waters and his fleet of top-notch musicians four times over a period of two summers, and was looking forward to a live document from the tour. I was not disappointed.

"In The Flesh," engineered by James Guthrie, who was responsible for the recent live Wall album, "Is There Anybody Out There?" is an incredible sounding recording. As Guthrie describes it, it "breathes." It has considerable depth and warmness. The songs themselves are executed brilliantly. Notable tracks on the first disc include "Dogs," which receives a full, unabridged workout and great guitar interplay between Doyle Bramhall II and Floyd-vet Snowy White, and "Set The Controls For The Heart Of The Sun," which is given a very trippy re-working and may be the gem of the album.

The second disc is devoted, in large part, to Waters' solo work, including a chunk from Waters' 1992 masterpiece, "Amused To Death." The album closes out with a strong new composition from Waters entitled "Each Small Candle," which Waters performed as an encore for all the shows on the 2000 leg of the tour and which is expected to surface on a forthcoming studio album from Waters.

It is expected that a companion DVD will soon follow.

21 of 23 people found the following review helpful:

5.0 out of 5 stars Welcome Back Roger, It's Been A Long Wait!, December 10, 2000

By 

Bill R. Moore (New York, USA) - See all my reviews
(TOP 500 REVIEWER)    (REAL NAME)   

This review is from: In the Flesh: Live (Audio CD)

This, Roger Waters' first album release in 8 years is a must own for any fans of his music or of classic Pink Floyd material. To be honest, I am a huge David Gilmour fan and was prepared to be disappointed with the guitar work on this album. I needn't have been. The triple guitar attack of Doyle Bramhall II, Snowy White, and Andy Fairweather-Low (augmented by Jon Carin and Roger himself) is a very potent axe outfit. Thus, not only is the solo work great as expected, but (unlike The Wall In Berlin) the Pink Floyd material actually sounds like Pink Floyd. As I mentioned the guitarists are competent, Jon Carin and Andy Wallace easily handle the keyboard parts, the backing vocalists are great, and Graham Broad is perhaps a better drummer than Nick Mason. Also, Roger himself is playing great and obviously enjoying performing for the first time in perhaps 25 years. His vocals may be occasionally rough around the edges, but as always he phrases them so that they come off as emotive and meaningful. The backing vocalists are also excellent, and it's hard not to be moved by PP Arnold's vocal break during Perfect Sense.

If you are wondering who plays what I will attempt to clarify that for you. The lead guitar work is handled mostly by Bramhall, who, despite his traditional blues stance, fills in ably for not only Gilmour but also Jeff Beck and Eric Clapton (on the solo material), and occasionally by Snowy White (Shine On, etc.). Andy Fairweather-Low is relegated to the role of rhythm guitarist for most of the songs, with occasional exception, such as his solo on Money. Roger plays bass or electric/acoustic guitars on many of the songs, as well as taking the lead on the Bravery of Being Out of Range. Jon Carin plays acoustic guitar on Dogs and slide on Shine On. Roger sings all of his parts, as well as Dave's parts on Welcome To The Machine, Time, and Wish You Were Here. Bramhall sings the rest of Dave's parts (except for Jon Carin's vocal on Dogs and the backing vocalists singing on Mother), as well as Rick Wright's parts on Time.

The best performances include a rip-roaring opening run through In The Flesh (not In The Flesh?); a great rendition and unique arrangement of Shine On You Crazy Diamond, with White for the most part (with a lot of help from Doyle) tearing through the song's ultra-awesome guitar parts; Dogs (Jon Carin sounds amazingly like Dave vocally on this track) in it's first official live incarnation; the new arrangement of Set The Controls For The Heart of The Sun, and all of the included songs from Amused To Death. Each Small Candle, the new Waters composition, is a definite step in the right direction as well. All of the solo material is better and more powerful when performed live and many of the old Pink Floyd warhorses are given a different take with altered arrangements (particularly Set The Controls, Welcome To The Machine, and Shine On). So if you're fearful of hearing yet another rendition of Money or Another Brick In The Wall Part 2, then put your worries aside. Also, there is more improvisitation here than there have been on previous tours of Roger's, where his band often tended to play the songs exactly as on the album. In addition, Each Small Candle is a powerhouse, featuring a stellar arrangement and musicianship, as well as the expected emotional impact of the Waters lyric. Fans starved for any new material for Roger will not be disappointed in this track. The only point where I missed Gilmour's presence, other than the expected solo spot on Comfortably Numb, was on Wish You Were Here. The opening guitar part on this song, simple as it is, is incorrectly and sloppily played. However, this is nicely balanced out by an electric guitar solo during the middle of the song. There are other times on the album when the guitar is not exactly right, or the new renditions of his vocals are less than perfect, but all in all, Roger and his band fill in competently.

There are several interesting things on this record that Roger and Floyd freaks will be interested to know. For one thing, Breathe actually contains the unlisted Speak To Me, which means that Roger got out of paying Nick Mason any royalties aside from the obligatory Time. Also, as many fans know, Roger wanted to use HAL's speech and Dave's breathing sounds from the scene in 2001: A Space Odyssey where Dave disconnects HAL, but was denied doing so by Stanley Kubrick. This is why there is a backwards message on Amused To Death that pokes fun at Kubrick. Anyway, the dialogue and "breathing sounds" are intact here at the beginning of Perfect Sense Part I.

All I can say in closing is buy this album if you are a Roger Waters or Floyd fan if you haven't already. You will not be disappointed by any facet of it, and it will be a welcome addition to your collection.